Symphonies:
No. 1, C major, Op. 21—Date of composition, I, 227, 266, 267, 272, 277, 282, 286, 290; II, 6, 39, 42;
arranged as Pf. Quintet, I, 228.
No. 2, D major, Op. 36—I, 140, 354, 364, 365, 371; II, 6, 39, 42, 73, 112, 113;
arranged as Pf. Trio, II, 40;
arranged as Quintet, II, 113.
No. 3, E-flat major, Op. 55 (“Eroica”)—I, 212; II, 14, 20, 24 et seq.; 33, 40;
first public performances of, 42 et seq.; 66, 67;
publication of, 77, 112, 116, 149, 369; III, 50;
arranged for Pf. Quartet, II, 113.
No. 4, B-flat major, Op. 60—II, 68, 73, 76, 101, 112, 116, 122, 123, 162, 166, 371.
No. 5, C minor, Op. 67—I, 307; II, 73, 76, 107, 109, 113, 123, 126, 127, 129, 132, 141, 162, 166, 186;
correction of error in Scherzo of, 192; 216, 250, 334, 348, 369, 379; III, 50.
No. 6, F major, Op. 68 (“Pastoral”)—I, 349, 354; II, 73, 110, 119, 120;
country musicians parodied in Scherzo, 121, 122; 127, 131, 141, 162, 166, 209, 316; III, 14, 50.
No. 7, A major, Op. 92—II, 151, 152, 166, 216;
melody of the Trio, 216; 237, 257;
Allegretto repeated at the first performance, 258; 267, 299, 311, 312, 313, 318, 319, 324, 325, 334, 337, 339, 340, 347, 348, 350, 352, 353, 356, 357, 367; III, 14, 37, 50, 144, 302.
No. 8, F major, Op. 93—II, 152, 166, 232;
the Allegretto and the canon on Mälzel, 234 et seq.; 237, 240, 267, 268, 311, 312, 313, 318, 357, 388; III, 144.
No. 9, D minor, Op. 125 (with vocal solos and chorus)—I, xi;
trombone parts, II, 7; 73, 90, 133, 152, 378, 411, 414; III, 15, 22, 87, 95;
and the Philharmonic Society of London, 110 (see “London Philharmonic Society” under Beethoven, Ludwig v.); 128, 132;
composition, first performance, repetition, 144 et seq.;
origin of the theme of the Scherzo, 145;
B.’s doubts concerning the finale, 152, 153;
address to B. by his friends, 153 et seq.;
a conspiracy to further the performance, 158, 159;
trouble about orchestra leader, 157, 160;
the solo singers, 162, 164;
rehearsals, 163;
programme of the concert, 164;
incidents of the first performance, 165 et seq.;
financial failure and B.’s disappointment, 167;
B. upbraids his friends and dines alone, 167;
the second performance, 168 et seq.; 170;
offer of score to Schott, 177;
offer to Probst, 178;
performed at Aix-la-Chapelle, 188;
Smart gets tempi from B., 208, 209;
the recitatives, 209, 226;
dedication, 231 et seq.;
metronome marks, 244, 292;
the autograph manuscript, 266.
“Wellington’s Victory, or The Battle of Victoria,” Op. 91—II, 251 et seq.; 262 et seq.; 259, 267, 268, 271, 272, 283, 290, 299, 309, 310, 311, 312, 313, 318, 319, 324, 325, 335, 339, 340, 353, 356; III, 113, 208, 211.
“Jena”—I, 211.
Sketches for uncompleted symphonies—A “Tenth,” II, 414; III, 221 et seq.;
in B minor, II, 310, 328;
in C minor, I, 210.
Overtures, Ballets, Marches, Dances, etc.:
Overture, “Coriolan,” Op. 62—II, 101, 102, 105, 112, 117, 124, 127, 133, 172, 209, 216, 268, 284.
Overture in C, Op. 124, “Consecration of the House.” (See Weihe des Hauses, under (c) Choral Works, etc.)
Overture to “Fidelio.” (See “Fidelio.”)
Overtures, “Leonore,” Nos. 1, 2 and 3. (See “Fidelio.”)
Overture in C, Op. 115—II, 292, 296, 302, 303, 311, 312, 313, 316, 327, 334, 335, 413; III, 50.
Overture to “König Stephan” (“King Stephen”), Op. 117—II, 208, 209, 213, 214, 218, 246, 313, 316, 334, 413; III, 57, 70, 72.
“Ritter-Ballet”—I, 108, 111, 117, 133, 142.
Ballet, “Die Geschöpfe des Prometheus” (“The Men of Prometheus”), Op. 43—I, 280;
history of, 283 et seq.; 290, 304, 364, 370; II, 5, 39, 52, 102, 112, 216, 356; III, 14.
Dances for the Ridotto Room—I, 188, 192, 202, 210, 211, 289.
Contradances and “Ländrische”—I, 289, 364, 365.
Écossaises (Twelve) for Strings with Wind ad lib.—II, 113.
Écossaise for Military Band—II, 194.
“Gratulatory Minuet”—III, 64, 80, 82, 89.
Polonaise for Military Band—II, 194.
Waltzes for Strings with Wind ad lib.—II, 113.
Waltzes, for a Country Band—III, 22.
Military March, in D—II, 356; III, 142.
Military Marches, in F—II, 160, 162, 195; III, 64, 141.
Funeral March for “Leonore Prohaska,” arranged from the Sonata Op. 26—II, 298, 299; III, 312.
Rondino for Wind-instruments—I, 134.
Triumphal March, for Küffner’s “Tarpeja”—II, 245, 250, 259; III, 58.
Equale for Three Trombones—II, 237;
arranged for voices and sung at B.’s funeral, III, 311.
(b) INSTRUMENTAL SOLOS WITH ORCHESTRA
Concertos, etc.:
Allegro con brio, for Violin, in C, completed by Hellmesberger—I, 136.
For Violin, in D major, Op. 61—II, 76, 103, 104, 112, 134, 162, 166;
arranged for Pianoforte—I, 350; II, 103, 104, 112, 134.
For Pianoforte, in E-flat (Youthful)—I, 75.
For Pianoforte, in D major (Youthful)—I, 136.
For Pianoforte, in C, No. 1, Op. 15—I, 137, 177, 185, 217, 222, 224, 244, 272, 287, 289; II, 39, 90.
For Pianoforte, B-flat major, No. 2, Op. 19—I, 136, 144, 177, 184, 185, 188, 208, 217, 222, 224, 225, 226, 272, 275, 286, 287, 290, 299; II, 39; III, 50, 279.
(See Rondo in B-flat.)
For Pianoforte, in C minor, No. 3, Op. 37—I, 270, 277, 364; II, 6, 7, 30, 32, 37, 39, 42, 131.
For Pianoforte, in G major, No. 4, Op. 58—II, 56, 66, 67, 68, 73, 74, 101, 110, 131, 134.
For Pianoforte, in E-flat major, No. 5, Op. 73—II, 133, 147, 149, 150, 159, 160, 192, 199, 209, 215, 216.
For Pianoforte, Violin and Violoncello, Op. 56—II, 40, 56, 73, 80, 113, 117.
Romance for Violin, in G, Op. 40—II, 20, 25, 26; III, 59.
Romance for Violin, in F, Op. 50—I, 140; II, 25, 26, 55; III, 59.
Rondo for Pianoforte, in B-flat, completed by Czerny—I, 223.
Sketches for Pianoforte Concerto in D—II, 328.
(c) CHORAL WORKS AND PIECES FOR SOLI AND CHORUS
Abschiedsgesang, for Men’s Voices—II, 303.
“Ah, perfido! spergiuro,” Scena for Soprano and Orchestra, Op. 65—I, 143, 206, 209; II, 6, 56, 129.
Birthday Cantata for Archduke Rudolph—III, 25.
Bundeslied, for Soprano and Orch.—III, 64, 141.
Cantata on the Death of Cressener (Youthful)—I, 65.
Cantata on the Death of Joseph II—I, 130.
Cantata on the Elevation of Leopold II—I, 130, 131.
“Christus am Ölberg,” Oratorio, Op. 85—I, 143, 289, 364; II, 2;
first performance of, 5 et seq.;
criticism of, 8, 35; 45, 52, 74, 156, 199, 204, 210, 246, 250, 309, 310, 327; III, 50, 174, 189, 208.
“Der glorreiche Augenblick,” Cantata, Op. 136—II, 294, 299, 300, 303, 305, 313, 318, 333, 339, 352.
“Egmont,” incidental music for, Op. 84—Commission for, II, 153, 166;
composition and first performance of, 171, 181, 192, 194, 197, 198; 209, 214, 216, 224, 238, 268; III, 75.
Elegiac Song, for four Voices and Strings, composed in memory of Baroness Pasqualati, Op. 118—II, 288, 303; III, 58.
“Es ist vollbracht,” Chorus for “Die Ehrenpforten”—II, 317, 328.
Fantasia for Pianoforte, Chorus and Orchestra, Op. 80—I, 203; II, 90, 127, 129 et seq.; 131, 133, 136, 160, 166, 192, 199;
dedication of, 207; 209, 369, 388; III, 177.
“Fidelio,” Opera, Op. 72—I, 145, 230, 263, 320; II, 19, 20, 35, 40;
composition of, 41; 45 et seq.;
first performance, 49 et seq.;
criticisms, 52;
first revision of, 53, 55, 56;
repetition and revision, 57 et seq.;
overtures, “Fidelio” and “Leonore” Nos. 1, 2 and 3, 58 et seq.; 60, 110, 111, 278, 279;
Röckel’s account of the withdrawal of, 63;
Salieri’s advice asked and rejected, 64;
Milder-Hauptmann and the great scena, 64;
Cherubini’s opinion, 63, 64;
offered to Berlin, 64;
Pf. score offered to Breitkopf and Härtel, 66;
sketches for, 73, 100;
in Prague, 110;
revival in 1814, 263 et seq.; 268, 273 et seq.; 280;
publication as “Leonore,” 285 et seq.;
Pf. score by Moscheles pirated, 283; 284, 285;
“Abscheulicher,” 285; 286, 293, 296, 303, 305, 307, 311, 313, 318, 330, 350, 351, 352, 353, 381; III, 82 et seq.; 117;
in Dresden, 129 et seq.; 139, 202, 288.
“Germania, wie stehst Du jetzt,” Chorus—II, 269, 277, 279, 302, 303, 317.
“Ihr weisen Gründer,” Chorus—II, 288, 292, 303.
“Leonore Prohaska,” incidental music for—II, 298, 303.
“Lob auf den Dicken,” jest on Schuppanzigh—I, 238.
Mass in C major, Op. 86—II, 107 et seq.; 108, 112, 127, 142;
performed at Troppau, 208; 223, 238, 310; III, 103.
Mass in D major, Op. 123 (Missa Solemnis)—I, 320; II, 398, 411, 414; III, 15, 21, 22, 37;
B. gets advance on, 39, 41, 42;
negotiations with Simrock, 44 et seq.; 48, 51 et seq.; 71, 72, 86;
history of the composition, subscription and publication, 89 et seq.; 105;
sold to Diabelli, 107;
contract cancelled, 108;
additional numbers to, 116, 151, 162;
first performance, 164 et seq.; 169, 174;
publication of, 177 et seq.;
offered to Probst, 178;
sold to Schott, 177, 180;
dedication, 212, 226;
metronomic marks for, 296.
Sketches for a Mass in C-sharp minor—III, 63, 116, 117, 141.
“Meeresstille und glückliche Fahrt,” Cantata, Op. 112—II, 300, 310, 327, 328.
“Mit Mädeln sich vertragen,” Song with Orchestra. (See Songs.)
“Mount of Olives, The.” (See “Christus am Ölberg.”)
“Opferlied,” for Soprano, Chorus and Orchestra, Op. 121b—I, 203, 275, 364; III, 64.
“Praise of Music, The” and “Preis der Tonkunst.” (See “Der glorreiche Augenblick.”)
“Primo Amore,” Song with Orch.—III, 58.
“Prüfung des Küssens.” (See Songs.)
“Rasch tritt der Tod,” Chorus of Monks from Schiller’s “William Tell”—II, 365, 368, 388.
“Ruinen von Athen” (“The Ruins of Athens”), incidental music for, Op. 113—II, 161, 201, 207, 208, 209, 213, 214, 216, 246, 249, 262, 264, 278, 311, 313, 316, 334; III, 57, 70, 71, 79, 80;
B.’s “Little opera,” 118; 189.
Airs from “Die schöne Schusterin”—I, 204, 224.
“Tremate, empj, tremate,” Terzetto with Orch., Op. 116—I, 365; II, 6, 267, 302, 313; III, 169.
Un lieto Brindisi, for four Voices and Pf.—II, 280, 302.
“Weihe des Hauses, Die,” incidental music for;
Overture, Op. 124—II, 26; III, 57, 79, 80, 81, 89, 111, 146, 162, 165, 226;
“Wo sich die Pulse,” Chorus, III, 72, 80.
Canons and Rounds: “Alles Gute, alles Schöne,” III, 25;
“Ars longa” (for Hummel), II, 338;
“Airs longa” (for Smart), III, 211;
“Bester Graf,” III, 115;
“Das Schöne zu dem Guten,” III, 140, 202;
“Doktor, sperrt das Thor,” III, 200;
“Edel sei der Mensch,” III, 110, 126;
“Freu’ dich des Lebens,” III, 211;
“Gedenkt heute an Baden,” III, 90;
“Gehabt euch wohl,” III, 90;
“Glaube und hoffe,” III, 23;
“Glück fehl Dir,” II, 363;
“Glück zum neuen Jahre,” II, 328, 356; III, 21, 22;
“Grossen Dank,” III, 131;
“Hier ist das Werk,” III, 246;
“Hol’ euch der Teufel,” III, 22;
“Hoffmann, sei ja kein Hōfmann,” III, 35, 190;
“Kühl, nicht lau,” III, 204;
“Kurz ist der Schmerz” (for Naue), II, 259;
“Kurz ist der Schmerz” (for Spohr), II, 303;
“Lerne schweigen, O Freund,” II, 328, 333, 389;
“Muss es sein?”, III, 224, 244;
“O Tobias,” III, 43, 90;
“Rede, rede,” II, 328, 333;
“Sankt Petrus war ein Fels,” III, 32;
“Schwenke dich,” III, 182, 190;
“Signor Abbate,” III, 236;
“Ta, ta, ta, lieber Mälzel,” II, 234 et seq.;
“Te solo adoro,” III, 143;
“Tugend is kein leerer Name,” III, 90.